Emanuel

FWIW I've been shooting this for 2 days and one of the great things vs previous BM cams is the ability to control exposure using ISO on the fly.
Having ISO in small increments starting at ISO100 is a big change and there's virtually no degradation. Clean, very 3D image in UHD and 4K. HD looks beautiful as well.

Here is the lens breakdown:
Canon C200 - 24-70mm F2.8 ii @ 35mm F4
Canon 1DXMk2 - 16-35 F4 @ 35mm F4
Fjifilm X-T3 - 23mm F2 @ F2.6 (35mm FF equivalent)
Panasonic GH5S - 12-35mm F2.8 @ 18mm F2.8 (36mm FF equivalent)
About: I tried to get everything as close to the M43 configuration as possible as I figured it would be at a disadvantage given the smaller sensor. DOF looks different on the GH5S, because... DOF is different on the M43. I was running a $1000 lens on the GH5S that was rated at F2.8. To get shallower I would have needed to use the Leica 42.5mm, but did not have enough equivalent lenses to this focal length to accommodate all the other cameras. So 35mm was choosen.
Setup: In some cases physical proximity to the cameras was different. Because there's was only so much space to set everything up. 
Honestly, I was surprised when comparing these cameras side by side how much less shallow the M43 image appeared. With the S35 sensor the Fuji looked pretty similar to the Canons.
Colors: Color wise the C200 was easiest to work with. It requires next to nothing to look good. Shoot at base ISO for the log profile you intend to add and you are done. It looks great all day long.
The Fuji was shoot in Eterna... reflecting back perhaps Flog would have been easier to tweak? 
The 1DXMk2 was shoot in neutral picture profile.
The GH5S was shot in VLogL. The standard Panasonic LUT was then applied. 
FCPX: The project was set to wide color gamut. I had read that this is desirable when editing Raw footage. But doing this seemed to cause issues with the 1DXMK2 image. It looked fine in the editor,  but rendered with blown highlights. I believe FCPX did not know how to handle its 8 bit image with the WCG project setting. The other cameras were all shot at 10 bit or higher. I tried several approaches to try to regain the highlight detail of the 1DXMk2, but nothing seemed to work. It continually looked great in the editor,  only to render blown out and harsh. I believe davinci is the better editor when dealing with a mix of 8 bit and higher. Unfortunately, my free version of resolve does not output 4k DCI... so that was out of the picture. 
Fruity chocolate: I don't think it's Apple's to (insert here) as they say. I used the lenses I own. This is a real world test. Question: Does Panasonic make a M43 equivalent to the Canon 24-70mm? Well,  Panasonic would tell you, "yes... it's the 12-35mm". So that is what I used.  And frankly I'm not alone in this thinking. While anything can be jerryrigged together, that leaves you compensating for something the cameras lacks.
This of course applies to all M43 cameras,  not just the GH5S. You are at a disadvantage regarding DOF. It's a limitation you get used to... or choose to find workarounds for. While I have a MSB, I seldom use it.  My Canon glass runs better natively... so why use it on an M43 body? Also doing so negates any size advantage.
 
I wanted to get the lenses close to each other. So everything was set to match the smallest sensor. The full frame cameras running at F4 while the X-T3 was at F2.6 IIRC.

Good stuff!
Controversial opinions are good when they are presented with some arguments behind them - it doesn't matter if you agree or disagree because either way they make you think and perhaps challenge your own beliefs and philosophies.
Congrats Andrew on EOSTV!!  May there be many more episodes to come!

It was a great occasion to enjoy some of Photokina with Dave Altizer. This video was an experiment in many ways, to plant a seed for more EOSHD YouTube content. I hope you enjoy the start of EOSHD TV - let's see how this goes in the future when I rope more unlucky people in front of the camera and come up with more content (the channel won't just be interviews).
We talk about a range of camera-nerd stuff in the video, not least of all that's on the table in front of us.
The Fuji X-T3, the Hasselblad X1D and Fuji GFX 50S medium format cameras, along with the other interesting finds at the show.
Warning: contains controversial opinions!!

35mm equivalent or in such terms, of course.
That is, focal length obviously doesn't change based on the sensor format, the FOV does. So, for the subject matter, take it as you're shooting FF ; )
 
My first cup of tea is 30-35mm. A bit wide, less than regular perspective, the way humans see the world, but already far enough from reality. More versatile than others IMO once you can use it for portrait but ready for street shooting as you wish.
Being a widest my 3rd choice and a telephoto lens for fourth, preferentially a zoom because of several re-framing options I may have.
Needless to say the 2nd place.
 
Yours?
The most focal lengths you use will dictate the product you output as much as the duration of your shots or the scale, your editing style.
If you'd choose one sole prime lens, which one would it be?

35mm equivalent or in such terms, of course.
That is, focal length obviously doesn't change based on the sensor format, the FOV does. So, for the subject matter, take it as you're shooting FF ; )
 
My first cup of tea is 30-35mm. A bit wide, less than regular perspective, the way humans see the world, but already far enough from reality. More versatile than others IMO once you can use it for portrait but ready for street shooting as you wish.
Being a widest my 3rd choice and a telephoto lens for fourth, preferentially a zoom because of several re-framing options I may have.
Needless to say the 2nd place.
 
Yours?
The most focal lengths you use will dictate the product you output as much as the duration of your shots or the scale, your editing style.
If you'd choose one sole prime lens, which one would it be?

LOL In fact : ) I guessed so. I also love 42.5mm f/1.7 on MFT. I know your love for that other f/1.2 ; -)

It's been noticed in the back-end of the site that some new users are joining in order to future the agendas of PR and marketing at some companies.
It's a tricky area for me to deal with, but I'll get some advice on how to better detect it and prevent it from happening in the future.
Whilst I know it is happening, the evidence as to what exact company is responsible for which posts isn't solid enough yet to go naming them.
But rest assured if I do find out, they will be named and shamed on the front page of EOSHD.

True. I wouldn't buy a C200 with the price of half-dozen Pockets... LOL : -)
 
 

My 15 1.7, 42.5 1.7 and 25 1.7 combined cost me around the same price as my Zeiss 55mm 1.8, my Sony 70-200 f4 cost the same as my 12-35 and 35-100 2.8 combo, and both of them combined is lighter than a single 70-200 f4 lens!
 
My small camera bag for my m43 kit (I can fit 4 m43 lens and a body) can barely just fit 2 lens on my A73 kit, hence I only travel with m43 and only use FF and GH5s for work, it just too big and heavy for me, and if it got stolen at least it doesn’t cost a lot to replace.

True. I wouldn't buy a C200 with the price of half-dozen Pockets... LOL : -)
 
 

I didn't. He did in his previous post. Anyway, cameras are just tools and by specs I consider the Pocket a capable cine camera that can do things the C200 can't.

This dude has no idea what he's doing. Nothing is done correctly for a real test. Not even his WB is even.

Not the best shooter ever but gives a tip on the tool's offering:
 

 

And you were not the only one. I left 5DII in behalf of the GH1 only one year later my previous purchase.
Silly discussion. This Tony N. looks like to be a smart a$$ more often than should be. I've also abandoned his insights for a long time now. Who abandons who (or what camera format) after all?
Useless pseudo-experts can waste your time and money.

No external audio input.....  bummer!

It makes sense that Panasonic has introduced FF mirrorless cameras now - Get in on the FF game now before Canon and Nikon mirrorless systems are established.
I've been a fan of Canon film cameras since 1975, and still have A and F series cameras, but I bought an EOS 10s (film) and never liked the thing. (Too big and bulky.)  I never thought Canon digital cameras were the way to go forward, and when the Panasonic G3 came out, that fit my still photographic needs.
With m43 you can go small and light, or rig up some monstrous and expensive glass.  Pound for pound (money and weight), m43 will get what most people consider excellent photos and video.  I see more benefits with m43 format in film making.  It is only a 1.3 crop factor from s35 movie film.  You can get wide aperture lenses to compensate for depth of field, and you need less light when you do. mFT has the advantage if you do want more depth of field.  Try photographing a group from 5 feet away with a 24mm at f2.8 on full frame!
It also makes sense for Tony N. to say FF is the way.  After all, he's getting paid most of the time when he is lugging around the ton of FF cameras and lenses he uses.
By the way, the best image quality I get is with my full frame Cambo 5"x7", but I'm also very happy with my G3, GH3, GH4, GH5, AE-1, FtB, F1, (2x)F1n, Sinar F1, and Graflex cameras.

That's actually the Moza Air X. The Air 2 is basically Moza's version of the DJI Ronin-S. 
But yeah, I'm stoked about the Air X. Seems more versatile to me than the new Zhiyun Crane 3 Lab, so I was surprised to see hardly anyone talking about it while Photokina happened.

The new Moza Air 2 is configurable to handle multiple shooting positions. But in a case of true innovation, can also be adapted to provide a full automation solution with the additional of the optional slider accessory.
Read more about it here.
 

If Fujifilm can be doing so well with both APS-C and medium format at the same time I am sure Micro Four Thirds can survive full frame, it has done since the start. I once chose the GH1 over the 5D Mark II remember!
And I will never part with some of the more unique c-mount lenses, micro four thirds lenses and anamorphic glass - the anamorphic on full frame is, shall we say, more challenging.

Yeah.. but see my recent post in the new Z7 review post from Andrew. 
Provleme is that all cameras have compromise. No 4K60p with canon and Nikon 
no FF and no IBIS with Fuji 
no good AF with Panasonic... 
always a compromise. 
FF is important for me not for video but stills. I am ok having two cameras now but preferably same system like A7SIII for video and a7iii for stills. If I get Fuji for video, I have to buy let’s say a Z6 for stills and carry 2 times different lenses and learn 2 ergonomics on the go : not cool. 
If only Z6 had 4K60p I would have bought a Z6 + Z7 and be done with it. 
So my best bet will probably be A7 III and A7SIII combo... let’s see next year in the meantime I might get the Fuji for upcoming video projects and sell it next year. 
I am so tired to change system every year just because there is no 4k60p FF with good AF and IBIS in market... 

I called it a miss. No 4K/60p today makes no sense at all. Not even through HDMI output? C'mon... Even GoPro and smartphones have it in-camera!
Something we have in common, pal, we both pursue the ideal cam, hard to come though LOL : )
My best bet is the X-H2 to bring IBIS coupled to the upcoming fastest mirrorless lens: 33mm f/1 (f/1.7 in 35mm terms); without mention a kit formed by 16mm f/1.4, 23mm f/2 & 50-140mm f/2.8 (not bad at longer end for a tele zoom) plus the 1.4x teleconverter, all that along 2019-20.

Don't underestimate Jim Jannard, man... : -D

Don't underestimate Jim Jannard, man... : -D

Maybe I am missing something here . . . but . . . I find the touch to focus on my GH5 works extremely well. The other AF options can be a hit and miss. What I was looking for were comments on the XT-3 touchscreen touch to focus.